Get Involved in the 20Th Century: Explore the Known and Unknown in Contemporary Music
Identifieur interne : 001926 ( Istex/Corpus ); précédent : 001925; suivant : 001927Get Involved in the 20Th Century: Explore the Known and Unknown in Contemporary Music
Auteurs : Marvin S. AdlerSource :
- Music educators journal [ 0027-4321 ] ; 1973-02.
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DOI: 10.2307/3400433
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Adler</surname><given-names>Marvin S.</given-names></name><aff>Adjunct lecturer at Queensborough Community College, New York City, and Director of Instrumental Music at the Crown Heights Intermediate School, I.S. 320, Brooklyn</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>02</month><year>1973</year></pub-date><volume>59</volume><issue>6</issue><fpage>38</fpage><lpage>41</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Marvin S. Adler Although there are many excellent sources of information about twentieth-century music and how to teach it, few of these sources discuss teaching strategies that relate known music to that which is not well known. I have found that, of all the types of twentieth-cen- The author is an adjunct lecturer at Queenshorough Community College, New York City, and Director of Instrumental Music at the Crown Heights Intermediate School, IS. 320, Brooklyn. Explore the Known and Unknown in Contemporary Music tury music, adolescents are most familiar with rock, pop, soul, electronic, and non-Western musics.1 However, they are relatively unfamiliar with terms like chance music, aleatoric music, Impressionism, Expressionism, Gebrauchsmusik, Barbarism, neotonality, neo-Classicism, neo-Romanti-cism, and nationalism, or with concepts such as changing and irregular meters, twelve-tone technique, quartal harmony, and mu-sique concrete. The teacher who recognizes this difference in familiarity will be able to start with the musics young people know best and use them as a point of departure for explaining the basic concepts of all kinds of twentieth-century music. An important part of the teacher's responsibility is to create activities through which these concepts can be explored. The following list of activities is based on twentieth-century music concepts to be learned.2 Students ‘This article is based on the Final Report of Project 9-B-047, which was funded under the U.S. Office of Education's Cooperative Research Act. The two-year research project dealt with how teenagers perceive twentieth-century music. See ERIC Microfiche, Final Report No. ED 043 649. “The format of this list is similar to those found in these books: Contemporary Music Project, Experiments in Musical Creativity (Washington, D.C.: Music Educators National Conference, 1966), and Charles L. Gary, ed., Music in the Elementary School: A Conceptual Approach (Washington, D.C.: Music Educators National Conference, 1967). 38 can explore the concepts through singing, playing, listening, analyzing, or discussing. This list is by no means exhaustive, and teachers are encouraged to create additional activities that are appropriate for their own classrooms.3 1. Concept: Contemporary music reflects the influence of musique concrete. Activity: Students find, listen to, and discuss pop records that use nontraditional sounds such as roosters crowing and airplanes landing. 2. Concept: Contemporary music uses non-Western instruments. Activity: Students find, listen to, and discuss pop and rock records that use the sitar, dilruba, and other instruments (recordings such as “Cry Like a Baby” and “Rubber Soul”). 3. Concept: Contemporary music uses changing and irregular meters. Activity: (a) Students identify songs in which the meter changes (such as “Valley of 3For additional teaching strategies, materials, and analyses, see Gladys Tipton, Adventures in Music, the RCA Victor record series; Joseph Machlis, Music: Adventures in Listening (New York: W.W. Norton & Company, 1968); Robert B. Brown and Eugene W. Troth, Music 100 (New York: The American Book Company, 1967); and Beth Landis and Lara Hoggard, Exploring Music, the Junior Book (New York: Holt, Rinehart and Winston, Inc., 1968). the Dolls” and “I Say a Little Prayer”) and then go on to examine the meter changes in Bartok's Concerto for Orchestra; students compare “Mission Impossible” in f meter with “Take Five”; then they listen to “Tango of the Merchant's Daughters” (from Piston's IncredibJe Flutist), which is in jj meter, (b) Students clap irregular meters, and then try to determine changing and irregular meters in unfamiliar selections. 4. Concept: Contemporary music uses quartaJ harmony. Activity: Students play chords built on fourths on the piano and on the resonator bells; they listen to “Spinning Wheel” by Blood, Sweat & Tears; they also listen for the fourths in the opening movement of Bartok's Concerto for Orchestra. 5. Concept: Contemporary music uses “bJue notes.” Activity: Students sing flatted thirds, fifths, and sevenths; they listen to old and new recordings of the blues; they also listen for the blue notes in Milhaud's La Creation du Monde. 6. Concept: Contemporary music uses am-plified sounds. Activity: Students amplify their own instruments (guitars and drums), classroom instruments, or sounds such as hisses, gurgles, 39 sputters, and laughter. 7. Concept: Contemporary music uses distorted sounds. Activity: Students tape and distort sounds (by slowing down or speeding up the tape) in the manner of Schaeffer's musique concrete school of composition. 8. Concept: Contemporary music uses electronic sounds. Activity: Students listen to Varese's Deserts', then they create their own electronic compositions, using the sounds of the telephone (push-button dialing or the sound of the phone when left off the hook) or the sound of the radio (the static or white noise that is heard between stations). 9. Concept: Contemporary music reflects modern ways of traveling and the “Manifesto of Bruitissimo.” Activity: Students compare Villa-Lobos' Little Train of the Caipira with Honegger's Pacific 231. 10. Concept: Twentieth-century composition has been strongly influenced by African music. Activity: (a) Students sing songs that reflect African influence and use these songs to structure compositions; students listen to Missa Luba, the improvised Congolese mass; students listen to Afro-jazz, such as Quincy Jones' GuJa Matari and recordings by Mongo Santamaria. (b) Students discuss the African ballet troupe that visited Paris early in this century and the influence it had on the style of Barbarism and the effect it had on Stravinsky (who wrote The Rite of Spring soon after this visit), (c) Students learn the Yor-uba (Nigerian) atsia rhythm:1 j j J* J j j / (d) Students read about and perform African dances.4 11. Concept: Chance music is not the same as aleatoric music. Activity: Students read translations of Boulez’ 1958 article, “Alea”; students compare Cage's 4’ 33” with Penderecki's Passion According to St. Luke. 12. Concept: Twentieth-century music uses tone rows. Activity: Students construct tone rows; they learn that all twelve tones have to be used before any can be repeated; they are ASee “Music of Africa” in Robert A. Choate, Lee Kjelson, Richard C. Berg, and Eugene W. Troth, New Dimensions in Music. Expressing Music (New York: The American Book Company, 1970), p. 53. guided in creating rows that avoid “traditional” skips or outlining a chord; students discover concepts of retrograde and inversion when exploring ways of using rows in compositions they create; they improvise on their rows. 13. Concept: Twentieth-century music is modal as well as tonal and atonal. Activity: Students play the Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Loc-rian modes on resonator bells; they play progressions such as C, Dm, Em, Dm on the Autoharp; they listen to modal compositions such as “The Miller's Dance” from Falla's Three Cornered Hat\ they sing modal songs by the Beatles. 40 14. Concept: Twentieth-century music uses tone clusters. Activity: Students play the piano with their fists instead of in the traditional manner; they listen to the “Concord” Sonata by Ives and to compositions by Cowell. 15. Concept: Contemporary music distorts traditional instruments. Activity: Students “prepare” a piano in the manner of Cage; they do research on how black American minstrels used to place objects in pianos during the nineteenth century. After a number of these activities have been explored, the teacher may develop a unit-of-study sequence that includes de- tailed lesson plans aimed at developing an understanding of the major compositional styles of our century and the composers who helped mold them. As an example, the following sequence is designed to proceed “from the known to the unknown” by starting with the music teenagers know and like. Units I Rock, Pop, and Soul II Jazz, Third Stream, and Jazz-Rock III Tape, Synthesizers, and Computers: New Media IV Chance and Aleatoric Music V Non-Western Music VI Impressionism, Expressionism, and Barbarism VII Transcendentalism and Other American Music VIII Dadaism, Neo-Classicism, and Ge-brauchsmusik IX Dodecaphony, Serial Technique, and Total Control X Nationalism, Neotonality, Neo-Ro-manticism, and Eclecticism We learn best through things we like. We read books we like and watch television programs we like. We are not pandering to phi-listine tastes by using and analyzing recordings that young people know and enjoy. There has been a considerable amount of debate about including rock in the curriculum. The point isn't whether or not rock should be in the curriculum, but rather how to capitalize on students' interest in rock to develop understanding of the constituent and expressive elements of all kinds of music (sometimes called music concepts) and the major compositional styles and techniques of our century. The purpose of music education is to develop understanding, not to develop taste. A teacher should not strive to cultivate an “appreciation” of a particular kind of twentieth-century music; instead, he should develop an equal understanding of the music of such men as Schoenberg, Hindemith, Debussy, Delius, Loeffler, Ives, Stravinsky, Bartok, Sibelius, Barber, Babbitt, Villa-Lobos, Gillespie, Still, Parker, and Ellington. This understanding can be achieved best when a teacher creates exploratory activities especially suited to his own class. 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